Qatar Leverages Culture to Expand Global Influence, Study Finds
Qatar is strategically employing its cultural influence to advance its global agenda, according to Dr. Ariel Admoni, a researcher at Ariel University and the Jerusalem Institute for Strategy and Security. Admoni explains that while Qatar did not invent anti-Israeli sentiment, it skillfully invests in cultural avenues to promote its narrative, blending diplomatic and economic strategies.
The ruling Al Thani family spearheads these efforts, with Qatar Foundation, led by Sheikha Moza, and Qatar Museums and the Doha Film Institute (DFI), headed by Sheikha Al-Mayassa bint Hamad bin Khalifa Al Thani, actively involved in education, research, and culture.
Evidence of this strategy can be seen in international film festivals. At the Venice Film Festival, two of the seven judges who awarded the film 'Nezha' were previously supported by the DFI. One judge, Kaouther Ben Hania, received DFI support for her film 'The Last Girl,' which deals with an incident involving IDF fire in Gaza. Admoni notes that Qatar's involvement is purely agenda-driven, lacking any genuine connection to the film's origin.
Qatar also fosters relationships with international artists and creators through events like the Doha Film Institute's annual 'Qumra' event, inviting them to Qatar and creating opportunities for collaboration. Admoni suggests these connections can evolve into funding projects, sometimes subtly pushing a desired narrative. He acknowledges that proving direct links can be difficult, as pre-existing sentiments often align with Qatar's agenda.
This long-term cultural investment, predating recent events, builds a seemingly neutral infrastructure that can ultimately serve to promote politically charged content. Admoni points out that Saudi Arabia and the UAE also employ similar tactics, but Qatar's approach is particularly systematic and skillful.
Qatar connects its promoted content with international cultural institutions, particularly in the West, aiming to legitimize its image and normalize anti-Zionist and even jihadist messages globally. A controversy arose at the Venice Biennale when South Africa's culture minister canceled an exhibit, alleging a foreign country, identified as Qatar, sought to use the pavilion for anti-Israel messaging by promising to purchase the artwork. The artist confirmed contact with Qatar Museums but denied political interference.
Qatar's influence extends to media ownership, with its beIN Media Group owning Hollywood studios like Miramax and participating in major film acquisitions. Admoni believes this accumulation of power and assets can subtly influence content, even in sports broadcasts, where anti-Israeli narratives have reportedly surfaced.
Admoni also highlights Qatar's role in fostering a 'red-green alliance' between political Islam and the Western progressive left, based on shared themes of anti-colonialism and opposition to Israel. He cites Qatari funding for projects by figures like filmmaker Mira Nair, whose son is New York City Mayor Zohran Mamdani, as an example of promoting narratives of the 'weak and oppressed.'
Within Israel, Admoni points to the 'Association for Arabic Culture' in Haifa, which reportedly receives millions of shekels annually from Qatar via a British foundation. Many board members have documented ties to the Balad party. The association engages in activities like book fairs, scholarships, and Nakba tours, subtly promoting Palestinian narratives without overt political campaigning. Admoni argues this method allows for a gradual delegitimization, creating long-term influence through established institutions and connections.
